In these three lectures, Cavell situates Emerson at an intersection of three crossroads: a place where both philosophy and literature pass; where the two traditions of English and German philosophy shun one another; where the cultures of America and Europe unsettle one another. "Cavell's 'readings' of Wittgenstein and Heidegger and Emerson and other thinkers surely deepen our understanding of them, but they do much more: they offer a vision of what life can be and what culture can mean. . . . These profound lectures are a wonderful place to make [Cavell's] acquaintance."—Hilary Putnam
In these lectures, Stanley Cavell situates Emerson at an intersection of three crossroads: a place where both philosophy and literature pass; where the two traditions of English and German philosophy shun one another; where the cultures of America and Europe unsettle one another.
This book is Stanley Cavells definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. Students and scholars working in philosophy, literature, American studies, history, film studies, and political theory can now more easily access Cavells luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson.
Stanley Cavell is a titan of the academic world; his work in aesthetics and philosophy has shaped both fields in the United States over the past forty years. In this brief yet enlightening collection of lectures, Cavell investigates the work of two of his most tried-and-true subjects: Emerson and Wittgenstein. Beginning with an introductory essay that places his own work in a philosophical and historical context, Cavell guides his reader through his thought process when composing and editing his lectures while making larger claims about the influence of institutions on philosophers, and the idea of progress within the discipline of philosophy. In “Declining Decline,” Cavell explains how language modifies human existence, looking specifically at the culture of Wittgenstein’s writings. He draws on Emerson, Thoreau, and many others to make his case that Wittgenstein can indeed be viewed as a “philosopher of culture.” In his final lecture, “Finding as Founding,” Cavell writes in response to Emerson’s “Experience,” and explores the tension between the philosopher and language—that he or she must embrace language as his or her “form of life,” while at the same time surpassing its restrictions. He compares finding new ideas to discovering a previously unknown land in an essay that unabashedly celebrates the power and joy of philosophical thought.
Since Socrates and his circle first tried to frame the Just City in words, discussion of a perfect communal life--a life of justice, reflection, and mutual respect--has had to come to terms with the distance between that idea and reality. Measuring this distance step by practical step is the philosophical project that Stanley Cavell has pursued on his exploratory path. Situated at the intersection of two of his longstanding interests--Emersonian philosophy and the Hollywood comedy of remarriage--Cavell's new work marks a significant advance in this project. The book--which presents a course of lectures Cavell presented several times toward the end of his teaching career at Harvard--links masterpieces of moral philosophy and classic Hollywood comedies to fashion a new way of looking at our lives and learning to live with ourselves. This book offers philosophy in the key of life. Beginning with a rereading of Emerson's "Self-Reliance," Cavell traces the idea of perfectionism through works by Plato, Aristotle, Locke, Kant, Mill, Nietzsche, and Rawls, and by such artists as Henry James, George Bernard Shaw, and Shakespeare. Cities of Words shows that this ever-evolving idea, brought to dramatic life in movies such as It Happened One Night, The Awful Truth, The Philadelphia Story, and The Lady Eve, has the power to reorient the perception of Western philosophy.
In the first essay of this book, Stanley Cavell characterizes philosophy as a "willingness to think not about something other than what ordinary human beings think about, but rather to learn to think undistractedly about things that ordinary human beings cannot help thinking about, or anyway cannot help having occur to them, sometimes in fantasy, sometimes as a flash across a landscape." Fantasies of film and television and literature, flashes across the landscape of literary theory, philosophical discourse, and French historiography give Cavell his starting points in these twelve essays. Here is philosophy in and out of "school," understood as a discipline in itself or thought through the works of Shakespeare, Molière, Kierkegaard, Thoreau, Brecht, Makavejev, Bergman, Hitchcock, Astaire, and Keaton.
Although Henry David Thoreau's best-known book, Walden, is admired as a classic work of American literature, it has not yet been widely recognized as an important philosophical text. In fact, many academic philosophers would be reluctant to classify Thoreau as a philosopher at all. The purpose of this volume is to remedy this neglect, to explain Thoreau's philosophical significance, and to argue that we can still learn from his polemical conception of philosophy.Thoreau sought to establish philosophy as a way of life and to root our philosophical, conceptual affairs in more practical or existential concerns. His work provides us with a sustained meditation on the importance of leading our lives with integrity, avoiding what he calls "quiet desperation." The contributors to this volume approach Thoreau's writings from different angles. They explore his aesthetic views, his naturalism, his theory of self, his ethical principles, and his political stances. Most importantly, they show how Thoreau returns philosophy to its roots as the love of wisdom.
An autobiography in the form of a philosophical diary, Little Did I Know's underlying motive is to describe the events of a life that produced the kind of writing associated with Stanley Cavell's name. Cavell recounts his journey from early childhood in Atlanta, Georgia, through musical studies at UC Berkeley and Julliard, his subsequent veering off into philosophy at UCLA, his Ph.D. studies at Harvard, and his half century of teaching. Influential people from various fields figure prominently or in passing over the course of this memoir. J.L. Austin, Ernest Bloch, Roger Sessions, Thomas Kuhn, Robert Lowell, Rogers Albritton, Seymour Shifrin, John Rawls, Bernard Williams, W. V. O. Quine, and Jacques Derrida are no longer with us; but Cavell also pays homage to the living: Michael Fried, John Harbison, Rose Mary Harbison, Kurt Fischer, Milton Babbitt, Thompson Clarke, John Hollander, Hilary Putnam, Sandra Laugier, Belle Randall, and Terrence Malick. The drift of his narrative also registers the decisiveness of the relatively unknown and the purely accidental. Cavell's life has produced a trail of some eighteen published books that range from treatments of individual writers like Wittgenstein, Austin, Emerson, Thoreau, Heidegger, Shakespeare, and Beckett to studies in aesthetics, epistemology, moral and political philosophy, cinema, opera, and religion.
In this most recent collection of his writing, Cavell provides extraordinary careful and sustained readings of Emerson's "Fate", Derrida's response to J. L. Austin in "Signature Event Context", and Wittgenstein's Philosophical Investigations d.
An analysis of the significance of literature in the work of one of America's most influential contemporary philosophers. Stanley Cavell is widely recognized as one of America's most important contemporary philosophers, and his legacy and writings continue to attract considerable attention among literary critics and theorists. Stanley Cavell and the Claim of Literature comprehensively addresses the importance of literature in Cavell's philosophy and, in turn, the potential effect of his philosophy on contemporary literary criticism. David Rudrum dedicates a chapter to each of the writers that principally occupy Cavell, including Shakespeare, Thoreau, Beckett, Wordsworth, Ibsen, and Poe, and incorporates chapters on tragedy, skepticism, ethics, and politics. Through detailed analysis of these works, Rudrum explores Cavell's ideas on the nature of reading; the relationships among literary language, ordinary language, and performative language; the status of authors and characters; the link between tragedy and ethics; and the nature of political conversation in a democracy.
